jmburge's Full Review: Bread and Circus by Toad The Wet Sprocket
Having been a Toad the Wet Sprocket fan for some time before purchasing this, their debut album, I was mesmerized by how impressive it is. Considering the following details of its production:
1. Lead singer/songwriter Glen Phillips was 16 years old when he wrote it.
2. It was recorded live, with some first-takes making the album.
3. The total cost to produce it was $650 in 1989.
4. When major labels came calling, Toad choose Columbia, because they insisted that the album be produced without alteration or remastering -
It is one of the most incredible albums ever produced, and relative to its cost, one of the most successful.
If you know Toad, this will sound quite different from what you are used to. Still under 18 when it was released, Glen incorporates a youthful angst not present on other albums. Make no mistake, this album is never whinny or cliche; it simply has a younger feel to it, which adds to its charm. Glen shows unparalleled insight in his lyrics for his age, as well as an honest and powerful musical backdrop for his musings.
If you are unfamiliar with Toad's sound (which is difficult to categorize), this album can be loosely described as electric guitar-driven folk/rock. Lyrically, it is complex and contemplative, not focusing on love and relationships, but covering the gamut of human emotion and experience. Ranging from wistful to bitter to hopeful, it represents the full range of their talents, if perhaps in a less polished format than 'Dulcinea' or 'Fear'.
The album opens with "Way Away," a track that is rather light and cheery in comparison to the rest of the album. While it doesn't seem to stand out initially, it's hook is contagious, and it will grow on you. The albums shifts gears in the second track, "Scenes from a Vinyl Recliner," an allegorical piece about a fear of stepping to far from comfort. There is a lot hidden in the lyrics of this maudlin tune. "Unquiet" is lyrically simple, but with a beautifully harmonic chorus offset by more grating verses, around a theme of inadequacy. "Know Me" is one of the best tracks on the album, beginning as a sweet acoustic ballad, and changing abruptly into a bitter and driven youthful tirade. This is so full of genuine passion and rage, it seems unreal that it was written by a boy. He really lets loose on this one vocally, and it may represent the furthest extent of unbridled crooning by Glen on any of their albums. "When We Recovered" is a more mellow track, full of sorrow and regret, contemplative of a near-disaster. "One Wind Blows" is another highlight on this, a contrast of droning, obscure verses and an extremely upbeat and catchy chorus. One of the best. "Pale Blue" is probably the most laid back song on the album. While lyrically sound, the music is meandering and nonchalant. "Always Changing Probably" is a piece full of sorrow and self doubt, examining a relationship that is in turmoil on both ends. It adds a saxophone at the end, that brings an incredible song to a perfect close. "One Little Girl" is a straight-forward rock song about mistreatment of women. It is the quickest in tempo of all the tracks, but haunting just the same. The last song is "Covered in Roses", and I don't know what it is about it, but I love it. The chorus is very, well, choral, with a blend of voices that are full of life, hopefulness and youthful energy. It is, of course, tinged with irony as with most of their work. But it is a magnificent song, a perfect end to a perfect album.
If you have any question at all as to whether to add this to your collection, question no further.
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